Treabar

Category: Game Activities

  • The spiritual dilemma and the reflection of the times in modern games from the accumulation of complex materials in Mingchao Xiakong

    Recently, the game Mingchao has attracted considerable attention. In particular, the complicated accumulation of materials for the cultivation of the new five-star resonator “Xiakong” has become the focus of controversy and complaints among players. Looking closely, these piles of materials are complicated and progressive, with low-frequency tidal erosion sail cores, medium-frequency high-frequency and even full-frequency, all of which symbolize the increasingly heavy burden on players; and rare materials such as burning phosphorus bones and golden wool are more like bait, tempting players to indulge in endless brushing and pursuit. If you look at the accumulation of materials in this game from the eyes of Lu Xun, you can see the deep spiritual dilemma and the reflection of the times behind the design of modern games.

    To cultivate Xiakong, you must collect low-frequency, medium-frequency, high-frequency, and full-frequency tidal erosion sail cores, the number of which can be as many as dozens or even dozens. The large number makes people think of the busyness and complexity of the world today: people are entangled in layers of affairs, and if they want to move forward, they must overcome many obstacles. The accumulation of numbers in the game seems to be a microcosm of the mental burden of modern people. Players follow the so-called “growth” in the virtual world, just like the nameless people who are bound by various rules and expectations in life, walking in endless anxiety and fatigue.

    The names of “burning phosphorus bones” and “golden fleece” sound mysterious and poetic, but in fact, the way to obtain them is a long and boring grinding, which consumes the time and patience of players. This reminds people of countless helpless individuals in reality who have exhausted their energy for the “rare materials” of life, but still lament that the harvest is meager. The game is named after materials, as if it condenses the suffering of reality into a string of numbers. Players are both participants in the game and a portrayal of the dilemma of reality.

    Even more annoying are the materials for special weapon cultivation: simple shackles, basic shackles, modified shackles, and special shackles. The names of these “shackles” have their own symbolic meanings. They are like shackles, encircling the players’ hands and feet, locking the freedom and happiness that should have been there into layers of demands and tasks. Game designers cleverly use the metaphor of “shackles” to make players sink deeper and deeper in the pursuit of power, unable to extricate themselves. This is the most alarming aspect of modern games: they are no longer just entertainment, but the creators of spiritual shackles.

    The introduction of recharge systems and discount codes has dragged games into the vortex of capital. The so-called moon phases, points, and tokens, which seem to be complicated numbers on the surface, are actually converters from real currency to virtual currency. Players invest real money in the virtual world in exchange for short-term power and pleasure. However, this pleasure is as short-lived as fireworks, and in the end, only emptiness and regret are left. Games have become tools for capital manipulation, and players have become consumers who are coerced.

    The material name of “Iris Blooms Day” could have been an expression of a beautiful image, but it was limited to the cruel conditions that must be defeated to obtain it. For this “beauty”, players have to challenge their limits repeatedly, exhausting their time and energy, just like workers in reality who struggle for their dreams but suffer repeated setbacks. Games and life are so similar.

    “Stuffed meat tofu”, a seemingly friendly little prop, is actually full of irony: it allows players to increase the material acquisition rate within a limited time, but also accelerates the oppressive rhythm of the game. This is like the “efficiency first” logic in modern society, pushing people into a more intense competition, making it difficult to breathe. Everything in the game is nothing more than a projection of reality and an amplification of reality.

    These layers of material requirements, and the high cost of time and money, make the game no longer a pure entertainment, but a silent spiritual battle. Players struggle in the ocean of numbers, not only for growth in the game, but also to find the rare satisfaction and meaning in reality. However, this satisfaction is often short-lived, and the design of the game pushes them to the next more difficult challenge.

    Mingchao Xiakong, on the surface, is a glamorous game, but behind it is a portrayal of the mental state of modern society: anxiety, fatigue, pursuit and loss intertwined. The game production team cleverly created invisible shackles with a complex development system to lock the players tightly. Just like “Ah Q” in Lu Xun’s works, who anesthetized himself in false victory, the players in the game world are also struggling in the digital maze.

    Finally, I hope we can see clearly this network of virtual and reality, and be alert to the spiritual crisis of the game while not losing our expectations for a good game experience. The story of Mingchao Xiakong is ultimately a mirror that reflects the contradictions of the times and the struggles of people.

  • The hidden trajectory of modern women’s growth and self-reshaping from games

    In the digital age, games are no longer just entertainment for teenagers, they have become a carrier for modern people to express themselves and realize their ideals. Especially for many female players, the characters in the game are not just virtual images, but also the self-projection that they lack or cannot achieve in reality. Recently, with the launch of a new character “Xia Kong” called “Mingchao”, it has attracted the attention of a large number of players. This is not only an update of game content, but also a cultural metaphor about women’s growth and self-cognition.

    As a five-star resonator, “Xia Kong” is highly symbolic in her design. She has powerful abilities and unique exclusive weapons, which means the embodiment of strength and independence in the game system. For modern female players, this power is not just a number in the game, but a symbol of their desire to control their own lives and destiny. Through the continuous accumulation and upgrading of “Xia Kong’s” breakthroughs, skills, and special weapon materials, players experience a process of self-improvement and growth.

    In the game, the growth of “Xiakong” requires a wealth of materials – from low-frequency to high-frequency tidal sail cores, from burning phosphorus bones to “golden fleece”, from impure crystallized phlogiston to high-purity crystallized phlogiston. These names sound complicated and unfamiliar, but they actually reflect the effort, time and wisdom that players must put in. The same is true for women in real life. They continue to accumulate strength and break through self-limitations in the workplace, at home, and even in their inner spiritual world. Each material is like a challenge and resource encountered in life. Only by careful management can the transformation be completed.

    More worth mentioning is the resonance circuit material of “Xiakong”, which is the release mechanism of her inner potential. It covers multiple levels such as ordinary attacks, resonance skills, and resonance liberation. It is meticulous and systematic, as if it is a textbook for the growth of modern women. Every improvement in resonance is not only an enhancement of the attributes of the game character, but also a true portrayal of women’s step-by-step struggle for discourse power and independence in society.

    However, growth in the game is not an easy process. How to obtain “burning phosphorus bones”? You need to defeat the powerful ancient dragon of sighing; how to collect “golden fleece”? You must patiently explore the game world step by step, and even invest financially. This undoubtedly reflects the many challenges faced by women in real life. They need to constantly fight to gain a foothold in an environment that is often unfriendly to women. Patience and persistence are their driving force, just like players constantly fight monsters and upgrade in the game.

    In this process, the choice of deposit channels is also of great practical significance. Treabar.com provides players with up to 22% deposit discounts and a smooth and safe transaction experience. This seems to be just a convenience in the game, but it reflects the importance of economic independence for modern women. Economic independence is the basis for modern women to gain self-identity and freedom. Just as players obtain stronger equipment and resources through reasonable investment in the game, women in real life also enhance their abilities through economic behavior.

    On the other hand, the limitations of material acquisition in the game world – for example, “Golden Fleece” can only be purchased 15 per week. This rule also reminds us that women’s growth and success are never a one-time process. It takes time, rhythm, and the recognition and challenge of self-limits. They do not mechanically accumulate resources, but form their own rhythm and pace in constant exploration.

    More deeply, the existence of the character “Xia Kong” is like a mirror, reflecting the struggle of modern women between tradition and modernity, reality and ideal. Her silence, strength and restraint reflect the contradictions deep in the hearts of many women: wanting to be strong but afraid of loneliness, wanting to be independent but longing to be understood. In real life, these complex emotions are intertwined into an invisible cage, and “Xia Kong” in the game is the key to breaking through this cage.

    In summary, from the acquisition of “Xia Kong” materials to the cultivation of the character, we not only see an adventure in the virtual world, but also a hidden epic about the growth, independence and self-cognition of modern women. Games provide women with a new space for expression, a place where they can experiment with themselves and challenge their limits. At the same time, it also reminds us to reflect on the limitations and possibilities of gender roles in real society.

    We should pay attention to the female power behind these figures and respect their desires and struggles expressed through games. More importantly, society should provide a fairer soil for the growth of women, so that they do not have to rely on the characters in the virtual world to seek recognition, but can bloom freely in reality and become the masters of their own destiny.

  • From the complexity of Mingchao Xiakong’s material collection, we can talk about the capital manipulation and player anxiety behind modern game design

    In this increasingly impetuous era, games seem to have become a safe haven for people to escape from reality. However, when we carefully observe the material collection of Xiakong, a new five-star resonator in the game “Mingchao”, it is not difficult to find that there is profound capital manipulation and player anxiety behind it. The complicated material requirements are like the endless task oppression in modern society, and like an invisible net that firmly traps players in it and cannot be freed.

    Xiakong’s breakthrough materials, skill materials and special weapon materials are piled up like mountains, and the huge number is staggering. 29 low-frequency tide eclipse sail cores, 40 mid-frequency, 52 high-frequency, and 61 full-frequency are like the ladder of capital climbing layer by layer, exhausting the player’s time and energy. The existence of burning phosphorus bones and golden wool has increased the difficulty for players. These two things are like the heavy taxes in the old society, as if only by paying a heavy price can you get even a little progress.

    We observe the source of “Burning Phosphorus Bone” – it can only be obtained by defeating the Sighing Ancient Dragon. This is tantamount to the scene of the working class bowing to power in order to survive. No wonder players are exhausted like coolies, repeating the same actions in the game world, trying to obtain those pieces of cold materials. Looking back a few years later, isn’t this another form of slavery?

    What’s more, as one of the breakthrough materials, the Golden Fleece can be purchased in the game, but it is subject to the limit of only buying 15 pieces per week. This is like the monopoly of resources by the powerful, giving you only a little “freedom”, but in fact it is full of shackles. Such a design not only tests the patience of players, but also stimulates their anxiety, creating a panic mentality of “if you are not diligent, you will be eliminated.”

    As for the materials for Xiakong’s special weapons, it is even more sigh-worthy. From simple shackles to special shackles, the name of shackles reveals a hint of irony – it is a symbol of growth, but it implies bondage. The shackles of capital, like these shackles, are interlocked and lock players firmly in the cage of consumption.

    The crystallized phlogiston series in the game progresses from impurities to high purity, layer by layer, just like the stratification of social classes. Players cannot enter the next stage without making great efforts. Little do they know that this is the business logic deliberately created by the designer, kneading the players’ expectations and anxieties into invisible ropes.

    However, “The Day of Iris Blooming”, a material that symbolizes hope, can only be obtained by defeating the weekly challenge “Wheel of Fate”. The game designer uses the word “fate” as a hint to the player’s fate: your growth depends entirely on the rotation of a round of fate. Isn’t this the epitome of “scarce opportunities” in modern society?

    Recharge discounts and discount codes follow closely, and the calculations of capital sound the loudest beat in this virtual world. Players pay real money for their own pleasure, but game manufacturers have long seen through the weaknesses of human nature and imprinted the concept of “paying is progress” in the hearts of every player. In this way, games have long deviated from the essence of entertainment and become a tool for capital plunder.

    Let’s talk about the “stuffed meat tofu”, a small prop that improves the efficiency of material drop. Its existence itself reflects the contradiction between the rhythm of the game and commercial interests. If the player does not have this prop, the efficiency will be low; if it has it, it will be temporarily accelerated, but it will be constantly pulled by the system with new demands. The “quick success” and “efficiency” of real society seem to be reflected in this virtual space.

    The material system of Mingchao Xiakong is nothing more than a mirror, reflecting the cold nature of capital supremacy in contemporary game design. Players are like prey being lassoed, struggling in layers of levels and material accumulation, but they have to admit that this is the price of “growth”. Looking at it, I can’t help but sigh: the freedom of the virtual world is just another cage designed by capital.

    Ultimately, if gamers cannot consciously see through the web of games and capital, they will only lose themselves in virtual labor. The materials used to cultivate Mingchao Xiazora are not only the hard labor factory in the game world, but also the epitome of class oppression in modern society. Only by awakening can we truly break free from these invisible shackles and gain our own freedom.

  • Feng Jin’s light cone and lonely path on the Xingkong Railway

    Feng Jin is the wind, the shadow walking on the Xingkong Railway, the fragment of time, and the storm of memory. Her existence, like a silent light, penetrates the darkness and illuminates the desolate track, but also reflects endless loneliness and confusion. In the upcoming 3.3 version, she will project a silent narrative about life and fate with her torn flesh and courage as a wind attribute.

    The flesh and blood crushed by fear have been torn and reorganized dozens of times in time, like flowing sand, swaying in the wind. They are not only the materials for her growth, but also the secret trauma in her heart. Those torn chests are not only the damage of the flesh, but also the cracks of the spirit, the sparks of the collision between courage and pain. She greeted these scars with silence and tried to sew up the broken self with tenacity.

    The baptism of glory is her glory forgotten by the times, flickering faintly, but the other side that can never be reached. She walks on this railway, carrying honor and humiliation, and the footprints of fate are deeply embedded in her actions. Her light cone “May the rainbow light stay in the sky forever” symbolizes endless pursuit, resistance to nothingness, and a cry for the future.

    The process of growth is a process of self-breakthrough again and again, and a process of standing up after being knocked down by reality again and again. Every advancement is like lighting a lamp in the dark, the lamp is weak, but it is enough to dispel the haze in front of you. Credit points are like the scars on Feng Jin’s body, which are the proof of her struggle and the precipitation of time she has experienced.

    The trace materials are the witness of her life trajectory. Those seeds of thought, manas sprouts, and Alayahua are not only resources in the game, but also nutrients for her spiritual growth. Each material is a footnote of time and a mark of her struggle in the vortex of fate. Those sounds and footprints guide her forward like stars, although lonely but not losing direction.

    Feng Jin’s story is a poem about loneliness and tenacity, a song without echo. Her wind, with scars, is still calm and firm. She walks on the Star Dome Railway, both a traveler and a sought-after existence. She uses her broken body and silent light to tell of her persistence and confusion in life.

    In her growth, we see our own shadows in the torrent of the times. Every breakthrough of hers is a challenge to her own boundaries. Her light cone is her expectation for the future and a silent accusation of reality. Her wind not only blows the stardust, but also blows the silence and fear deep in our hearts.

    This Star Dome Railway is paved with Feng Jin’s footprints, and it also reflects the heart of every dreamer. Her growth is not just the accumulation of numbers in the game, but a profound interpretation of the fragility and tenacity of life. She reminds us that on this road where light and shadow are intertwined, loneliness is inevitable, but it is still worth it to stick to our beliefs.

    May Feng Jin’s light penetrate this long track and become a beacon in our hearts that never goes out. Her story is the wind, the light, and the silent power in life. Her deeds are a vow against oblivion and the truest echo on the Star Dome Railway.

  • The Stories of Fontaine: A Guide to Daily Commissions and Reputation Systems in Genshin Impact 4.0

     

    There are seven countries on the magical land of Teyvat, each with its own style. And now, the protagonist of the topic has come to Fontaine. This is not Paris, but it has the romance of Paris; it is not Venice, but it is full of water.

    As a qualified traveler, when you step into Fontaine, in addition to enjoying the scenery, listening to music, and chatting with NPCs about life, you have to do some serious work. For example: daily commissions and reputation systems.

    Speaking of this, we have to start from the beginning.

    —

    ### 1. Everything starts with the main line

    “Want to take daily commissions? Sure, finish the main line first.”

    This sentence is like the unspoken rules in the ancient officialdom: Do you want to be promoted? Okay, then you have to be recommended by someone first, and you have to do an errand. The official of Fontaine is no exception. To unlock daily commissions, you must first complete **two acts of the main storyline**:

    * **The prologue of White Dew and Black Tide**
    * **The light rain that seems to fall for no reason**

    To put it simply, it means that the storyline is complete, otherwise there is nothing to talk about.

    Do you think this is over? It’s still early. The main storyline is just an “application for joining the party”. If you really want to “assign a job to the organization”, you have to report to **Catherine** of the Adventurer Association to trigger the world mission – **”Adventure is to go to the distance”**.

    After completing it, the familiar little red dots will slowly appear in your commission menu.

    ### 2. Daily commissions are not just running errands

    Four tasks a day, one batch a day, this is the cleverness of the system design – let you come back every day to “punch in”.

    But the commissions of Fontaine are different from those of other places. In Liyue, you may help someone catch a hillman; in Inazuma, you may deliver a lunch box; and in Fontaine? You may have to help a little robot find its mother.

    Although the commission is small, there are many varieties. From underwater exploration equipment to investigating technological out-of-control, and even occasionally chatting about life with a robot fish that sounds like Shakespeare. Don’t think this is just a task, it is a cultural output, a collision of technology and humanity, and a microcosm of the rule of law society in Fontaine.

    And every time you complete a commission, you can not only get raw stones, Mora, and experience, but also promote the accumulation of reputation. To put it bluntly, the more you do, the more people in the city will recognize you as a person.

    —

    ### 3. Reputation system, from a worker to an acquaintance

    “Who are you?”-When you first came to Fontaine, you may be just an unknown person.

    But as long as you complete enough tasks and your reputation rises, the treatment will be different. The regional reputation system is designed like this:

    * Accumulated reputation can unlock **regional props** (such as Fontaine’s special equipment);

    * After increasing the level, you can even get special drawings and commemorative items;

    * Moreover, for some side quests, you have to have enough reputation before the NPC will pay attention to you.

    It’s like when you first join the company, you can only do odd jobs at first; but after working for a long time, the boss likes you and is willing to give you the “core project”.

    —

    ### 4. Process arrangement (no nonsense, but clear)

    1. Complete the two acts of the main storyline of Fontaine.
    2. Go to the Adventurer’s Association to find Catherine and accept the task “Adventure is to go far away”.
    3. After completion, the daily commission of Fontaine will be automatically unlocked.
    4. Open the Adventurer’s Handbook → Commission → Select “Fontaine” in the region to start the daily task.
    5. Complete the task to accumulate reputation and unlock the reward.

    This process is not difficult, but it is not too simple. The key is not to run the process, but to understand the logic behind it: the designer hopes that you will develop a rhythm of “participation” in the game – neither let you be idle nor tired.

    —

    ### 5. Summary in one sentence

    **The essence of the daily commission and reputation system of Fontaine is “one step at a time, and the work will not be in vain”. **

    You do a little bit every day, which may seem insignificant, but little by little, you will eventually find that you have become the most popular traveler in this city.

    Does it sound like what we often say when reading history?

    “The person who really changes history is often not the most dazzling person, but the one who works silently every day.”

    The same is true in Genshin Impact.

    —

    If you need to turn this style into a comic commentary, a short film script, or further extend it (for example, add “which reputation tasks are most recommended to be solved first”, etc.), you can also tell me and I will help you continue.

     

    More game guides are available at Treabar.